News

The first of three performances of Verdi's opera comes out tomorrow with the Croatian Marko Mimica as the ruthless king of the Huns

The Auditorio de Tenerife presents Attila, the second opera programmed for this season by Opera de Tenerife. War, betrayal and ghosts come together in this patriotic version of the king of the Huns composed by Guiseppe Verdi. The first performance of this production takes place tomorrow [Tuesday 23] at 7:30 p.m. in the Symphony Hall. The other two performances take place on Thursday and Saturday this week. Attila is a coproduction between the Auditorio de Tenerife with Teatro Regio di Parma.

This ninth opera by Verdi with a libretto by Temistocle Solera has three acts preceded by a prologue. Premièred during the mid-19^th-century, this proposal presents the history of Attila, king of the Huns, and his relationship with Odabella. The staging moves away from the traditional features of this title but retains the spirit of Verdi's work.

Andrea de Rosa is responsible for the stage direction and set design. His team is rounded up with Alessandro Lai, costume designer, and Pasquale Mari, lighting designer. Christopher Franklin is the conductor and will be at the helm of the Tenerife Symphony Orchestra.

The Croatian bass, Marko Mimica, will play the main character while the Bulgarian soprano, Tanya Ivanova, will play the maiden Odabella. Alfredo Daza, baritone, will play Ezio; Antonio Poli, tenor, will play Foresto; Rocco Cavaluzzi, bass, will play Leone and Javier Palacios, tenor, will play Uldino. Their voices sing together with the choir Coro de Opera de Tenerife.

The origin of Attila is the play 'Attila, König der Hunnen' (Attila, King of the Huns) by the German Zacharias Werner, which Verdi had read after finding references to it in Madame de Staël's essay ‘De l'Allemagne’.Moreover, he had been stimulated by the suggestion to write on a "barbaric" topic. The story takes place in Italy in the year 425. The events narrated in the prologue take place in Aquileia and the Adriatic Lagoon, where Venice was built later on. The three acts happen in Rome.

The opera starts during the invasion of Italy by the Huns. Attila has conquered the city of Aquileia and killed his lord, but not his daughter: Odabella. While she is imprisoned, she swears to avenge her father's death by killing the king of the Huns. Attila is attracted to her by the strength of her character and woos her. She gives him consent to facilitate her plans. Foresto, a nobleman from Aquileia in love with Odabella, appears on the scene.

Attila is disturbed. He has dreamed that an old man prevented him from conquering Rome and warned him: “You might be the Scourge of God, but these are God's domains”. Even so, he orders to advance on Rome. The Pope Leo I comes to the fore and speaks to him in those very words.

Attila recognises in him the man of his dreams, so he prostrates himself before the divine representative and renounces to take over the city. The opera continues with subplots of betrayal against the king of the Huns. The play will end in tragedy despite Attila’s acts of kindness.

This opera is organised by the Department of Culture of Tenerife Island Council and managed by its island Minister of Culture, Enrique Arriaga, through the Auditorio de Tenerife. The tickets can be purchased until one hour before the show on the website www.auditoriodetenerife.com and by dialling the phone number 902 317 327 from Monday to Friday from 10:00 a.m. to 5:00 p.m. Saturdays from 10:00 a.m. to 2:00 p.m. Special prices are available for large families, unemployed, young people under the age of 30 and ticket holders of Opera de Tenerife for the season 19-20. The audience is requested to arrive at the venue well in advance to enter the Auditorium in staggered "waves".

By purchasing tickets, you accept the measures implemented by the cultural centre of Tenerife Island Council to combat COVID-19, such as the correct use of masks and attendance at the event only with people you live with. All of the measures, as well as the contingency plan certified by AENOR, can be consulted on our website.

The tickets for this Friday's concert 'Viento y tiempo' are sold out

The Auditorio de Tenerife is a cultural space linked to the Department of Culture of Tenerife Island Council that is managed by the island's Minister of Culture, Enrique Arriaga. This Friday [26] at 7:30 p.m. it will offer the concert 'Viento y Tiempo'. The tickets for this show by Gonzalo Rubalcaba and Aymée Nuviola are sold out. According to both multi-Grammy award winners, this concert pays a tribute to life, to their mothers and the air of music blowing from Havana.

The Auditorium's Chamber Hall will receive this new jazz proposal from two great artists who have known each other since their childhood in Havana. After developing their careers separately, both musicians and friends have decided to join forces to bring this show. This has led them to look back at their beginnings, coincidences, families and the influence of Cuban music.

When Dizzy Gillespie discovered Gonzalo Rubalcaba in 1985, the Cuban pianist and composer was already a young phenomenon with a budding career in his native island. Since then, the magazine ‘Piano & Keyboard’ selected him in 1999 as one of the great pianists of the 20^th century, alongside the likes of Glenn Gould, Martha Argerich and Bill Evans. He has won two Grammy and two Latin Grammy. He has 16 Grammy nominations and EMPIK Bestsellers nominations too. All this has established him as a creative force in the jazz world.

Aymée Nuviola "La Sonera del Mundo" is a singer, composer and actress. Like the music of her native island, Cuba, she embodies that magical mixture of musical genres. She was born in Havana into a family of musicians. Some of her earliest memories are at the piano, working on melodies between lessons. Later, as she became a classically trained pianist and composer at Cuba's leading music academy, the Manuel Samuell Conservatory, she recalls her fascination with all styles, from Debussy to Bossa Nova.

The audience is requested to arrive at the venue well in advance to enter the auditorium in staggered "waves". By purchasing tickets, you accept the measures implemented by the cultural centre to combat COVID-19, such as the correct use of masks and attendance at the event only with people you live with. All of the measures, as well as the contingency plan certified by AENOR, can be consulted on our website.

The tickets for Saturday's family concert are sold out

The Tenerife Symphony Orchestra launched today [Wednesday 17] its seasonal educational programme with the event Memory. The programme offers concerts for more than 350 schoolchildren this week. It will culminate on Saturday [20th] with a double family event, which is already sold out.

The first session was attended by students from the Nursery and Primary Schools Las Chumberas (La Laguna), Melchor Núñez Tejera (Tegueste), Miguel Pintor (Santa Cruz) and the bilingual school Mayco (La Laguna). Tomorrow [Thursday 18], the Auditorium will welcome 117 schoolchildren from the schools Virgen del Mar and Montessori, both in Santa Cruz. The same programme will be offered in Los Silos on the 18^th at 5:30 p.m. to inaugurate the storytelling Festival "Festival del Cuento". The last school session takes place in the Auditorium's Chamber Hall on Friday and will be attended by 125 schoolchildren that come from the schools Bajos and Tagoro (La Victoria), Pérez Zamora (Los Realejos), and Villa de Arico.

Enrique Arriaga stresses that “this initiative is part of the commitment of our Department of Culture to offer a first-class cultural programme available to the whole of society; in this specific case, to its youngest members".

Memory offers excerpts from suites numbers 1 and 2 of ‘The Wand of Youth’, by Edward Elgar's with a string quartet, which is integrated by the following members of the Tenerife Symphony Orchestra: Dorota Kwiecinska (violin), Yolanda Reyes Bartlet (violin), Brett Kronewitter (viola) and Johana Kegel (cello). Likewise, the storyteller Ana Hernández Sanchiz and the circus artist El Gran Rufus tell children the story of Edward, a mature circus performer who has the worries and weariness of an adult, but who revives childhood moments through the games and treasures he finds among old belongings. Those memories, dreams and emotions will bring back the sparkle and shine of that time with a real magic wand: the music.

When Edward Elgar (1857-1934) was twelve years old, he wrote some songs to accompany a play he was going to perform with the rest of the children in his family. He wrote down those songs in a sketchbook and recovered those sketches forty years later to create his two orchestral suites. That's why he numbered them as opus 1 a/b, a memory of those first songs that outlived time.

This educational programme is proposed by the Tenerife Symphony Orchestra with the collaboration of the Educational and Social Programme of Auditorio de Tenerife. It finishes this Saturday with two performances: the first of them is for families with children under three years of age and the second one is for families with children over three years of age. The tickets for these performances are sold out. Accreditation of the child's age will be requested at access to the hall by presenting the ID card or family book.

Co-produced with Teatro Reggio di Parma, this opera takes the stage of the Symphony Hall on 23, 25 and 27 November

The Auditorio de Tenerife presents Attila, the second opera programmed for this season by Opera de Tenerife. Through this work, Giuseppe Verdi gives his most patriotic perspective on the life of the king of Huns. The performances take place on 23, 25 and 27 November at 7:30 p.m. in the Symphony Hall. Enrique Arriaga, the Minister of Culture of Tenerife Island Council, together with Christopher Franklin, the conductor, and Andrea de Rosa, the stage director and set designer, announced the details on this co-production with Teatro Regio di Parma. 

Arriaga explained that "the Croatian bass, Marko Mimica, will play the main character, Attila. The Bulgarian soprano, Tanya Ivanova, will play the maiden Odabella. Alfredo Daza, baritone, will play Ezio; Antonio Poli, tenor, will play Foresto; Rocco Cavaluzzi, bass, will play Leone and Javier Palacios, tenor, will play Uldino. Their voices sing together with the choir Coro de Opera de Tenerife.”

Arriaga reminded the audience that culture is something safe to do, especially in the Auditorio de Tenerife. The venue is the first stage to have an AENOR certification for its Covid-19 prevention and control programme. Finally, he explained that "Tenerife Island Council is working to ensure that everyone has access to culture without income being an obstacle for that purpose; therefore, the institution offers discounts for the unemployed, large families and those under 30 years of age".

On this occasion, the conductor Christopher Franklin will be at the helm of the Tenerife Symphony Orchestra. In 2018 he already worked for Opera de Tenerife with ‘Lucia de Lammermoor’. Now he has come back to address this great opportunity. "This score is bombastic and patriotic, dark and mysterious. It contains a leitmotif as a warning: beware of strangers you are going to drink with," analysed the conductor. Franklin also mentioned that the orchestra has been reduced for the correct observance of the prevention measures.

Andrea de Rosa spoke about the content and the scenography; "It takes place during the invasion of Italy by the Huns. The opera tackles the devastating impact of this war and the violence that affected men, women and children." The set designer explained that when you stage such an opera, there are no good and bad characters, as they show other facets. Thus, Attila is a fierce man, but we also reflect on his dreams and longings. The singers must also be actors in order to convey all the nuances”. Andrea de Rosa's proposes mystery, dreams and the unconscious.

Marko Mimica interprets the main character. He acknowledged having studied all those who have sung Verdi's Attila before him to see how he could contribute to the character. The Croatian singer said, "I have been preparing for this role for ten years because I have sung many times one of the arias that is particularly complicated". He also highlighted the nuances that this opera brings to the character, such as his love for Odabella. He admits that it is the most difficult role he has played so far.

This ninth opera of Verdi consists of three acts preceded by an opening prelude. The work was premièred in the mid-19^th century. It presents the story of Attila, the king of the Huns, and his relationship with Odabella. The staging moves away from the traditional features of this title, but it retains the spirit of Verdi's work. Andrea de Rosa's team is rounded up with Alessandro Lai, costume designer, and Pasquale Mari, lighting designer.

The origin of Attila is the play 'Attila, König der Hunnen' (Attila, King of the Huns) by the German Zacharias Werner, which Verdi had read after finding references to it in Madame de Staël's essay De l'Allemagne.Moreover, he had been stimulated by the suggestion to write on a "barbaric" topic. The story takes place in the year 425 in Italy. The events narrated in the prologue take place in Aquileia and the Adriatic Lagoon, where Venice was built later on. The three acts take place in Rome.

The opera takes place during the invasion of Italy by the Huns. Attila had conquered the city of Aquileia and killed his lord, but not his daughter: Odabella. While she is imprisoned, she swears to avenge her father's death by killing the king of the Huns. Attila is attracted to her because of the strength of her character and woos her. She gives him consent to facilitate her plans. Foresto, a nobleman from Aquileia in love with Odabella, appears on the scene.

Attila is disturbed. He has dreamed that an old man prevented him from conquering Rome and warned him: “You might be the Scourge of God, but these are God's domains”. Even so, he orders to advance on Rome. Pope Leo I comes to the fore and speaks to him in those very words. Attila recognises in him the man of his dreams, so he prostrates himself before the divine representative and renounces to take over the city. The opera continues with subplots of treason against the king of the Huns. The play will end in tragedy despite Attila’s acts of kindness.

Tickets can be purchased until fifteen minutes before the show on the website www.auditoriodetenerife.com and by dialling the phone number 902 317 327 from Monday to Friday from 10:00 a.m. to 5:00 p.m. Saturdays from 10:00 a.m. to 2:00 p.m. Special prices are available for large families, unemployed, young people under 30s and 19-20 season ticket holders of Ópera de Tenerife. The audience is requested to arrive at the venue well in advance to enter the Auditorium in staggered "waves".

By purchasing tickets, you accept the measures implemented by the cultural centre to combat COVID-19, such as the correct use of masks and attendance to the event only with people you are living with. All of the measures, as well as the contingency plan certified by AENOR, can be consulted on our website.

The concert is titled 'Luces y sombras' (Lights and shadows) and includes works by Bach, Kodály, Bloch and Pärt

The Auditorio de Tenerife is a cultural space linked to the Department of Culture of Tenerife Island Council that is managed by its Minister of Culture, Enrique Arriaga. On Thursday, the 11^th of November, Dúo Cassadó plays a cello and piano concert in the Chamber Hall at 7:30 p.m. The concert is titled 'Luces y sombras' (Lights and shadows) and includes works by Johann Sebastian Bach, Zoltan Kodály, Ernest Bloch and Arvo Pärt. Tickets are on sale.

The members of Dúo Cassadó are Damian Martínez Marco, cellist, and Marta Moll de Alba, pianist. The tandem offers programmes of great sensitivity that stand out for being original and charismatic. The concert ‘Luces y sombras’ starts with the ‘Cello Suite No.3 in C major’, BWV 1009, by Bach; it will continue with the ‘Adagio for cello and piano’, by Kodály. Next, they will play ‘From Jewish Life’, by Bloch, to finish with ‘Spiegel im Spiegel’ and ‘Fratres’, by Pärt.

The Dúo Cassadó exclusively record on the Warner Classics label. They have played in Israel, Canada, Colombia, Ecuador, Argentina, Morocco, Tunisia, France, Italy, Germany, Switzerland, Portugal, Egypt, Jordan and China. In 2000 they began their artistic career, and since then they have received the recognition of the public and international critics. 

Damian Martínez is considered one of the best cellists of his generation. He was supported and recognized as such by Mstislav Rostropovich. The duo was also recommended by Alicia de Larrocha as the most brilliant duo representing Spanish chamber music. Their album Rapsodia del Sur was sponsored by the BBVA Foundation. It was chosen as one of the year's best albums and received the 'Melómano de Oro' award. The duo will soon perform in Spain, China, Germany, Switzerland and Japan.

Tickets can be purchased until one hour before the show on the website www.auditoriodetenerife.com and by dialling the phone number 902 317 327 from Monday to Friday from 10:00 a.m. to 5:00 p.m. Saturdays from 10:00 a.m. to 2:00 p.m. During the purchase process, the user will have to choose between one or two pre-set seats distributed throughout the hall. The audience is requested to arrive at the venue well in advance to enter the Auditorium in staggered "waves".

By purchasing tickets, you accept the measures implemented by the cultural centre to combat Coronavirus, such as the correct use of masks and attendance at the event only with people you live with. All of the measures, as well as the contingency plan certified by AENOR, can be consulted on the Auditorium’s website.

Ya están abiertas las inscripciones, sin coste, para esta formación, que tendrá lugar los días 19 y 20 de noviembre

El Auditorio de Tenerife, espacio que depende del área de Cultura del Cabildo, que dirige el consejero Enrique Arriaga, ofrece los días 19 y 20 de noviembre el taller La poética del teatro de títeres y objetos, impartido por la creadora especializada en artes escénicas Alejandra Prieto. El plazo de inscripción, sin coste, ya se encuentra abierto y cierra el próximo día 17.

Esta actividad está destinada a personas con formación o experiencia en trabajo físico, teatro físico o danza, que puedan seguir una coreografía de movimientos. El alumnado conocerá la capacidad expresiva de los objetos y de los títeres de bunraku (teatro de marionetas japonés) a través del aprendizaje de la técnica de manipulación de estos lenguajes y podrá descubrir su esencia poética y su versatilidad en diferentes producciones escénicas, incluida la ópera.

Se abordará la puesta en juego del objeto en situación dramática, haciendo especial hincapié en su naturaleza simbólica y transformadora. Se utilizarán elementos simples y cotidianos para la puesta en escena de situaciones dramáticas que posibiliten la comprensión del lenguaje específico de este teatro, y también se experimentarán sus posibilidades de intercambio con otras disciplinas escénicas.

El taller se desarrollará en la Sala Puerto del Auditorio de Tenerife de 18:00 a 21:00 horas, el viernes, y de 10:00 a 14:00 horas y de 15:00 a 18:00 horas el sábado. Las inscripciones se realizan enviando un correo electrónico a This email address is being protected from spambots. You need JavaScript enabled to view it. con los siguientes datos: nombre y apellidos, DNI, contacto (teléfono y correo electrónico) y currículum que acredite la experiencia. El envío de la información no confirma la plaza, ya que están limitadas a 18 y, además de cumplir con los requisitos, prevalece el orden de inscripción.

Para el correcto desarrollo de este taller cada alumno debe llevar ropa cómoda, libreta de notas, cinco objetos (de tamaño no superior a 50 centímetros y que sean manipulables), una música que le resulte inspiradora y una canción (con la letra aprendida). Toda la información sobre este taller se puede consultar AQUÍ.

Alejandra Prieto es creadora escénica, directora, actriz y docente de artes escénicas. Tiene un máster en Bellas Artes (MFA) en dirección de teatro en Sarah Lawrence College (Nueva York). Se formó en viewpoints con Anne Bogart y la SITI Company en Nueva York (2008) y en dirección y creación de títeres de bunraku con Tom Lee y Dan Hurlin en Estados Unidos.

Prieto es directora artística de la compañía de teatro visual Winged Cranes, creada en Londres en 2008 y con base en Madrid desde 2010. Las producciones de Winged Cranes se han visto en Europa, la India, China y Estados Unidos, destacando la gira internacional de Bernarda’s Backstage (2011) en colaboración con el Instituto Cervantes (2014). Además, ha trabajado como creadora, actriz y manipuladora con otras compañías, como Improbable Theatre en el Festival de Spoleto con la ópera The Little Macth girl, destacando su colaboración habitual con la compañía de teatro internacional Blind Summit, con sede en Londres, en varias óperas y obras premiadas en festivales internacionales (Citizen Puppet y The Table en el Festival de Edimburgo).

Combina su faceta artística con la pedagógica y es profesora de actuación en el Máster de Actuación de la Universidad Rey Jua Carlos y en los estudios de grado de Artes Escénicas de esta universidad. Ha sido visiting artist y lecturer por la Universidad de Brown, en Estados Unidos, durante el semestre de otoño de 2013 y en la Universidad de Shanghái en 2015.

During the months of September, October and November 2021, the Auditorio de Tenerife welcomes the artist residency Sobre lo que no se ve (On what is not seen), a project by the dancer Masu Fajardo. The final exhibition will take place on Friday 3 December 2021 at 18:30.

It is an investigation into the body that is based on the experiencing action through sensations and their narration.

This piece arises after the project "Manual de coreografías" (Manual on choreography), presented at the Ateneo Cultural Centre of La Laguna and the old Convent of San Agustín (St. Augustine) as a textual exhibition.

On this occasion, the texts are acted upon by a series of collaborating artists, creating among all a single place for the reader/viewer’s imagination.  

Hence, the idea of constructing a scene that can be heard and accessed by people with reduced sight and even the blind.

In this way, "On what is not seen" stems from previous work and aims to paradoxically explore what we see, what we remember, memory, and the present as a place to be accessed for the game of expanding our memories.

The performance work will be undertaken by three artists trained in post-dramatic dance or theatre.

Imagination as a way of building the world will be part of the show. 

"There is something in what we see that we don't see."  Or, perhaps more accurately, "there is something in what we see that we don't realize that we see, that we don't know that we see."

...An impregnable blind spot at the very centre of the field of vision; perhaps, even acting as sight's fastest organizing nucleus.

For that episteme, for that general program that regulates the conditions complex under which sight is produced –technical conditions, financial conditions, political conditions... but also, symbolic conditions, fiduciary conditions, conditions referring to the abstract beliefs and narratives that a community implicitly shares– seeing is a cognitively impaired, incomplete act that is not sufficiently undertaken in and of itself.

Fragment of DESOCULTACIÓN (DECONCEALMENT), by José Luis Brea.

Masu Fajardo was born in Tenerife in 1978. She combined her studies of Art History with dance, ultimately opting for the latter. She continued her training in Barcelona, where she became a professional dancer and worked with different choreographers and companies. Starting with her solo Microficciones: cómo desaparecer en escena (Microfictions: How to disappear on stage), she embarked upon her own line of research on invisibility and intermediate spaces where sight is interrupted by the non-linear: an expanded time and a scene of a performing nature in terms of being a practice in continuous expansion.

The event takes place on Friday [5th] and will be conducted by Chloé van Soeterstède with the violinist Rosanne Philippens as a guest soloist

Sinfónica de Tenerife (Tenerife Symphony Orchestra) is a project of the Island Council’s Department of Culture which is directed by Enrique Arriaga. On November the 5^th from 7:30 p.m. onwards, it offers a new season concert with a programme that includes works by  Beethoven, Mendelssohn, and Franck under the baton of Chloé van Soeterstède, and with the Dutch violinist Rosanne Philippens as a guest soloist. Both ladies play for the first time in Tenerife.

Van Soeterstède has designed a concert that begins with the overture Prometheus by Ludwig van Beethoven. The work belongs to the ballet The Creatures of Prometheus, which the Bonn maestro composed when he was thirty years old and which, in addition to this overture, consists of an introduction and sixteen other numbers.

Next and to complete this first part of the programme, Rossane Philippens plays as a soloist in Felix Mendelssohn's Concerto for violin and orchestra in E minor, opus 64. The concert was composed for his friend Ferdinand David, concertmaster of the Leipzig Gewandhaus Orchestra. It took Mendelssohn six years - until 1844 - to compose it, and is undoubtedly one of his last great symphonic works.

The second part of the evening is devoted exclusively to the Symphony in D minor by Cesar Franck, the Belgian-born, French composer and organist. This piece was composed during the composer's last and most prolific period, when the best of his chamber pieces, symphonic poems, oratorios, etc. were to be born.

Chloé van Soeterstède's intuitive and expressive way of conducting and her presence in front of the lectern are appealing. The conductor was born in France in 1988. She studied conducting at the Royal Northern College of Music after studying viola in Paris and at the Royal Academy of Music. In 2012 she created the Arch Sinfonia, a chamber orchestra based in London. In 2019 she was appointed Taki Concordia Fellow 2019-21 by the American conductor and violinist Marin Alsop.

In addition to her première in Tenerife, during this season she will make other debuts with the Sinfónica de RTVE, the Sinfónica de Castilla y León, the Orlando Philharmonic Orchestra, the Kitchener-Waterloo Symphony Orchestra, the Orchestre Philharmonique Royal de Liège, the Orchestre de Pau Pays de Béarn, the Gävle Symphony (Sweden), the Bournemouth Symphony and Los Angeles Philharmonic Orchestra. The latter has announced that she will be one of the Dudamel Fellows this season.

Rosanne Philippens is a violinist who is increasingly and internationally demanded. During the pandemic, she created her new ensemble, The Vondel Strings, with which she has performed at the prestigious Concertgebouw in Amsterdam. Likewise, the ensemble made a new recording that Channel Classics released in September this year. Philippens studied at the Royal Conservatory in The Hague and at the Hochschule für Musik Hanns Eisler in Berlin, receiving the highest distinction at both institutions. She won the first prize at the Dutch National Violin Competition in 2009 and at the International Violin Competition in Freiburg in 2014.

Tickets can be purchased until one hour before the show on the website www.sinfonicadetenerife.es. You can also purchase your tickets by phone by dialling 902 317 327 from Monday to Friday from 10:00 a.m. to 5:00 p.m. Saturdays from 10:00 a.m. to 2:00 p.m. The audience is requested to arrive at the venue well in advance to enter the auditorium in staggered "waves". By purchasing tickets, you accept the measures implemented by the cultural centre to combat Coronavirus. All of the measures, as well as the contingency plan certified by AENOR, can be consulted on the Auditorium’s website.

The musician will play a repertoire comprised of pieces by Mendelssohn, Scriabin y Mussorgsky

Auditorio de Tenerife is a cultural space linked to the Department of Culture of Tenerife Island Council that is managed by the island's Minister of Culture Enrique Arriaga. Next Tuesday, the 2^nd  of November at 7:30 p.m., the Auditorium welcomes a concert by the English pianist Paul Lewis. The musician will play at the Chamber Hall a programme comprised of pieces by Felix Mendelssohn, Alexander Scriabin, and Modest Mussorgsky.

Lewis is internationally regarded as one of the leading musicians of his generation. His cycles of core piano works by Beethoven and Schubert have received unanimous critical and public acclaim worldwide, and consolidated his reputation as one of the world’s foremost interpreters of the central European classical repertoire.

His numerous awards have included the Royal Philharmonic Society’s Instrumentalist of the Year, two Edison awards, three Gramophone awards, the Diapason D’or de l’Annee, the Preis der Deutschen Schallplattenkritik, the Premio Internazionale Accademia Musicale Chigiana, and the South Bank Show Classical Music award. He holds honorary degrees from Liverpool, Edge Hill, and Southampton Universities, and was appointed Commander of the Order of the British Empire (CBE) in the 2016 Queen’s Birthday Honours.

He works regularly as a soloist with the world’s great orchestras, including the Berlin Philharmonic, Boston Symphony, Chicago Symphony, London Symphony, London Philharmonic, Bavarian Radio Symphony, NHK Symphony, New York Philharmonic, LA Philharmonic, and the Royal Concertgebouw, Cleveland, Tonhalle Zurich, Leipzig Gewandhaus, Philharmonia, and Mahler Chamber Orchestras.

Tickets can be purchased until one hour before the show on the website https://auditoriodetenerife.com/en/ and by dialling the phone number 902 317 327 from Monday to Friday from 10:00 a.m. to 5:00 p.m. Saturdays from 10:00 a.m. to 2:00 p.m. During the purchase process, the user will have to choose between one or two pre-set seats distributed throughout the hall. The audience is requested to arrive at the venue well in advance to enter the Auditorium in staggered "waves".

By purchasing tickets, you accept the measures implemented by the cultural centre to combat Coronavirus, such as the correct use of masks and attendance at the event only with people you live with. All of the measures, as well as the contingency plan certified by AENOR, can be consulted on the Auditorium’s website.

Tomorrow's programme [Thursday 28] includes works by Pleyel, Süssmayr, Krommer, and Cambini

The Auditorio de Tenerife, a cultural space linked to the Department of Culture of Tenerife Island Council, is managed by its Minister of Culture, Enrique Arriaga. On Thursday, 28 October at 7:30 p.m. it offers the concert Revolución y transición, by Ensemble Hespérides. The programme consists of works by the composers Ignaz Pleyel, Franz Xaver Süssmayr, Franz Krommer and Giuseppe María Cambini. Tickets are on sale at www.auditoriodetenerife.com.  

On this ocasion, the Ensemble Hespérides counts with Raquel Martorell (flute), Jon Olaberria (oboe), David Ballesteros (violin), Iván Sáez (viola), and Mireya Peñarroja (cello). Hespérides is an authentic and atypical instrumental ensemble. They only perform music from the classical and romantic periods with original instruments from each period, and they are historically duly informed.

'Revolution' is defined as the action that comes from a desire to change, to progress, to evolve towards something better. All this brings along a moment of transition. Ensemble Hespérides wants to illustrate several kinds of revolutions and transitions through this programme.

Pleyel and Cambini established or lived in Paris for part of their lives. They were affected by the French Revolution in the midst of a classical period. This fact deeply affected the transition to the Romantic period, which they experienced during a twenty-year period after the end of this revolution. They were greatly influenced by the way music was composed and performed.

But the term 'revolution' might also refer to new findings which are needed to adapt to the composers' and artists' new demands. This was the case of Ignaz Pleyel, the composer with whom we opened this programme.

These two completely different connotations of "revolution" will take us into the feature-rich world of Classicism as a musical style; the romantic brushstrokes show a wish to generate an artistic revolution.

Tickets can be purchased until one hour before the show on the website www.auditoriodetenerife.com  by dialling the phone number 902 317 327 from Monday to Friday from 10:00 a.m. to 5:00 p.m. Saturdays from 10:00 a.m. to 2:00 p.m. During the purchase process, the user will have to choose between one or two pre-set seats distributed throughout the hall. The audience is requested to arrive at the venue well in advance to enter the Auditorium in staggered "waves".

By purchasing tickets, you accept the measures implemented by the cultural centre to combat Coronavirus, such as the correct use of masks and attendance at the event only with people you live with. All of the measures, as well as the contingency plan certified by AENOR, can be consulted on the Auditorium’s website. 

This Friday's concert is conducted by Víctor Pablo Pérez with Anastasia Kobelina playing as a soloist cello. The concert includes a composition by Stravinsky

Sinfónica de Tenerife (Tenerife Symphony Orchestra) offers on Friday, 29 October at 7:30 p.m. a concert at the Auditorio de Tenerife. Its honorary conductor, Víctor Pablo Pérez, adds two new composers to the orchestra's repertoire: Fernando Velázquez and Friedrich Gulda. The orchestra will respectively play ‘Piano espressivo’ and the ‘Concert for cello and brass orchestra’. During the second work, the Russian cellist Anastasia Kobekina plays as an invited soloist. The programme also includes the suite Pulcinella, by Stravinsky.

The evening starts with ‘Piano espressivo’ by Fernando Velázquez (Guecho, 1976), who won a Goya Award for the best original soundtrack of "Un monstruo viene a verme", a film directed by Juan Antonio Bayona. According to Velázquez, the piece that the Sinfónica de Tenerife plays this week was conceived as a homage to a friend and cellist, Juan Carlos Cárdenas. It happened as a game between friends with the cello as the main character. Velázquez explained that "this is a colláge where cellos follow their own rhythm playing a beautiful melody. The composition of the orchestra’s accompaniment is based upon the comments on what we the cellist have played all our lives.”

The first part of the concert is rounded up with the suite Pulcinella, by Stravinsky (1882-1971). The piece has its origins in the ballet of the same name that Stravinsky wrote in 1920. He counted on Picasso to create the costumes and sets. Two years later he composed the suite, which has eleven of the eighteen original parts the work had. As a result, it offers a mixture of light-hearted and sometimes melancholic music. This marks the beginning of Stravinsky's neoclassical period.

The programme finishes with the ‘Concert for cello and brass orchestra’ by Friedrich Gulda (1930-2000). This is the first time that the orchestra performs this work. It does so with the soloist Anastasia Kobekina (Ekaterinburg, 1994), who comes to work on the island for the first time. Like Velázquez's, this composition by Gulda is eclectic and post-modern. It ends with a circus march that seems to satirize all the previous movements. The opening introduces the soloist with her cello acting as an electric guitar.

Anastasia Kobekina plays a Stradivarius De Kermadec-Bläss cello manufactured in 1698, and on this occasion, she makes her debut in Tenerife. Despite being only 27 years old, Kobekina has already played with orchestras such as Konzerthausorchester Berlin, Kammerphilharmonie Bremen, Wiener Symphoniker, BBC Philharmonic, Kremerata Baltica, Mariinsky Theatre Orchestra, Moscow Virtuosi, and under the direction of Penderecki, Valery Gergiev or Heinrich Schiff. Apart from her début on the island, during this season the Russian cellist will also make her début with the Royal Liverpool Philharmonic Orchestra and Vasily Petrenko, the Orchestre National de Lille, the Orquesta Sinfónica de Barcelona (OBC), the Yomiuri Nippon Symphony Orchestra and the Kanagawa Philharmonic Orchestra.

Víctor Pablo Pérez leads again the Sinfónica de Tenerife during this new season. Thirty-five years ago he made his début as main conductor and artistic director during a period that finally lasted for eighteen seasons. He is the honorary conductor of the Sinfónica de Tenerife since the year 2006. This experienced and award-winning conductor frequently collaborates with the Teatro Real in Madrid, the Gran Teatre del Liceu of Barcelona, the Mozart Festival of La Coruña, the International Music Festivals of the Canary Islands, or Perelada and Granada, among others. Likewise, he has been invited by many international orchestras such as the HR-Sinfonieorchester – Frankfurt, Berliner Symphoniker, Münchner Symphoniker, Dresdner Sinfoniker, Royal Philharmonic, London Philharmonic, Orchestra dell’Accademia Nazionale di Santa Cecilia di Roma and the Orchestra Sinfonica RAI di Roma.

Tickets can be purchased until two hours before the concert on the website www.sinfonicadetenerife.es, at the Auditorium’s box office or by dialling the phone number 902 317 327 from Monday to Friday from 10:00 a.m. to 5:00 p.m., Saturdays 10:00 a.m. to 2:00 p.m. The audience is requested to arrive at the venue well in advance to enter the auditorium in staggered "waves". By purchasing tickets, you accept the measures implemented by the cultural centre to combat Coronavirus. All of the measures, as well as the contingency plan certified by AENOR, can be consulted on the Auditorium’s website.

Directed by Carlos Acosta, the company offers two performances on 30 and 31 October in the Symphony Hall

The Auditorio de Tenerife, a cultural space linked to the Department of Culture of Tenerife Island Council, is managed by its Minister of Culture, Enrique Arriaga. The venue offers this weekend two performances of Evolution, a show by the prestigious Cuban company Acosta Danza. The dance company is directed by Carlos Acosta and it will be on stage in the Symphony Hall on Saturday, the 30^th October at 8:30 p.m. and on Sunday, the 31^st October at 7:30 p.m.

With Evolution, Acosta Danza and 13 of its members offer four key works of their repertoire: the mystery of the show Satori; a sunset celebration with Paysage, soudain la nuit; a tribute to dance and mathematics with Twelve, while Impronta shows a fusion between folk and contemporary dance. Cuban music, visual arts and the proverbial power of Cuban dancers merge during this scenic proposal.

Acosta Danza was founded by Carlos Acosta, its general manager and renowned dancer who was also the main character of the movie Yuli. The film was directed by Icíar Bollaín and premièred in 2019. It revolves around Carlos Acosta's life. The company is the most recent report card of the Cuban scene to the world. It has performed in venues such as the Royal Opera House, the Royal Albert Hall and Sadler's Wells in London; the New York City Center in the United States, and the Chinese National Theatre.

Created on the 28^th of September 2015, the company was and presented for the first time to the public on the 8^th of April 2016. It is part of the Cuban stage scene and has clear contemporary lines, without neglecting the technical development of classical ballet. The company meets the needs of its creator to materialise his artistic vision through the work that he has been shaping during his professional career. Acosta Danza was nominated in 2021 by the Dance Section of the Critics' Circle (UK) to get the National Dance Award as the best independent company.

Evolution will start with ‘Satori’, by Raúl Reinoso. It won the 2018 Villanueva Prize, an award by the Review and Stage Research Section of the ‘National Association of Cuban Artists and Writers’ (UNEAC) to the best Cuban and foreign shows seen in Cuba during that year. The same institution recognised Raúl Reinoso in 2019 with the National Choreography Award 2018-2019 for this piece.

In Zen Buddhism, the word ‘satori’ refers to spiritual enlightenment. Several abstract choreographic scenes illustrate this inner journey: the initial questions, the search, the stagnation, the defeat of obstacles and, finally, the moment of knowledge, the discovery of truth, of beauty, of light.

‘Paysage, soudain la nuit’ could be translated as 'Landscape and sudden night'. The piece is signed by the choreographer Pontus Lidberg and the playwright Adrian Silver. It is inspired in a poem by the Cuban writer Eliseo Diego: "Faster days are going by, / the night so early that it is dawn / and dawn breaks so that it is twilight / a twilight of a returning dawn / it announces a gloom again / where yesterday's night returns."

The modern and contemporary dance merge in ‘Impronta0, by María Rovira, the main choreographer of the film Yuli. It evokes the African heritage of folk dances. In addition, the piece also features music by Pepe Gavilondo.

Twelve, by Jorge Crecis, was selected by the Review and Stage Research Section of the (UNEAC) as one of the best dance and theatre shows exhibited in Cuba in 2017. It is a dance-sport piece, a universe ruled by complex mathematical and graphic permutations. This real risk tests the physical and mental endurance of the 12 dancers.

Tickets can be purchased until one hour before the show on the website www.auditoriodetenerife.com and by dialling the phone number 902 317 327 from Monday to Friday from 10:00 a.m. to 5:00 p.m. Saturdays from 10:00 a.m. to 2:00 p.m. During the purchase process, the user will have to choose between one or two pre-set seats distributed throughout the hall. The audience is requested to arrive at the venue well in advance to enter the Auditorium in staggered "waves".

By purchasing tickets, you accept the measures implemented by the cultural centre to combat Coronavirus, such as the correct use of masks and attendance at the event only with people you live with. All of the measures, as well as the contingency plan certified by AENOR, can be consulted on the Auditorium’s website.